A Conversation with Kornilios Diamantopoulos and Konstantinos Lygnos

Description:

In an interview with Kornilios Diamantopoulos and Konstantinos Lygnos, Yorgos Sicilianos discusses the intricate relationship between form, repetition, and contrast in music composition. He asserts that repetition, when done correctly, enriches music and aids listeners in comprehension. Sicilianos explains that his work is deeply influenced by ancient Greek poetry, particularly tragedies, where stanzas and counter-stanzas exhibit identical structures with different emphases, creating a perception of novelty despite underlying uniformity. He emphasises that form emerges from uniformity that undergoes alterations to avoid monotony.

Sicilianos reflects on his career, recounting the evolution of his compositional style influenced by figures such as Bartók and the exploration of serial and atonal music. He describes a personal journey marked by internal struggles and external influences, which shaped his unique musical language. Despite his avant-garde approach, Sicilianos believes music should remain accessible to the audience, striving for a balance where sophisticated structures do not alienate listeners but instead invite them to engage deeply with the work. He also highlights his commitment to sincere expression, driven by personal experiences and emotions, which are evident in works like his Fifth Quartet, a piece born from a profound contemplation of life and death.

Sicilianos recounts his first encounter with Nikos Skalkottas during the German occupation when Skalkottas was a violinist in the back of the seconds in the State Orchestra. When he approached Skalkottas to show him his music, Skalkottas was surprised but agreed to help. This meeting left a lasting impression on Sicilianos, who admired Skalkottas’s dedication and insights on music, particularly his thoughts on the evolution from Bach to twelve-tone music. Skalkottas’s explanations and piano demonstrations of twelve-tone compositions significantly impacted Sicilianos’s musical development, even though he only fully appreciated Skalkottas’s work years later.